Mitteilungen Der IGG 2000 (Pdf)
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Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Accepted Faculty of Graduate Studies
ACCEPTED FACULTY OF GRADUATE STUDIES JOSEPH HAYDN AND THE DRAMMA GIOCOSO by Patricia Anne Debly Mus.Bac., University of Western Ontario, 1978 M.Mus., Catholic University of America, 1980 M.A., University of Victoria, 1985 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard I^an G. Lazarevich, Supervisor (Faculty of Graduate Studies) Dr. E. Schwandt, Departmental Member (School of Music] Dr. A. Q^fghes, Outside Member (Theatre Department) Dr. J. ..ujiey-r-Outside (History Department) Dr. M. Tér^-Smith, External Examiner (Music Department, Western Washington University) © PATRICIA ANNE DEBLY, 1993 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. 11 Supervisor; Dean Gordana Lazarevich ABSTRACT Haydn's thirteen extant Esterhdzy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century'. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later draimi giocosi. In addition to his role as Kapellmeister Haydn adcpted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five draimi giocosi which Haydn wrote, beginning with Le pescatrici {1769) through to La fedelta preiniata (1780), within the context of the draima giocoso tradition. -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M. -
The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918. -
Mitteilungen Der IGG 2002 (Pdf)
MITTEILUNGEN DER INTERNATIONALEN GLUCK-GESELLSCHAFT NR. 4 JUNI 2002 1 Vorbemerkung Das vierte Heft der Mitteilungen der Internationalen Gluck-Gesellschaft (Juni 2002) wird den Mitgliedern anlässlich der Generalversammlung in Berching überreicht, wie dies mit Heft 3 auch bereits im Jahr 2000 geschehen ist. Der Stadt Berching und ihrem Ersten Bürgermeister, Herrn Rudolf Eineder, sei auch an dieser Stelle für die Einladung und das förderliche Interesse aufrichtig gedankt. Redaktion: Gerhard Croll und Irene Brandenburg. Postanschrift: A-5020 Salzburg, Bergstr. 10. Fax: (0662)-8044-4660. Tel.: (0662)-8044-4655, e-mail: [email protected] oder: [email protected] Autoren dieser Ausgabe Wolfgang Babl, München Gerhard Croll, Salzburg Rudolf Eineder, Berching Dieter Haberl, Regensburg Kurt Karl, Altdorf Daniela Philippi, Mainz Elisabeth Richter, Salzburg Hans Rosenbeck, Berching Inhaltsverzeichnis In memoriam Marius Flothuis († 13.11.2001)...........................................................3 Zur Aufführung von Ch. W. Glucks La Danza in Berching 2002 ............................5 Rudolf Eineder: Mittelalterliche Kulisse für Opernserenade La Danza in Berching5 Gerhard Croll: La Danza von Christoph Willibald Gluck Laxenburg 1755 – Berching 2002............................................................................................................7 Kurt Karl: Zur Aufführung von Glucks La Danza in Grein....................................10 Hans Rosenbeck: Gluck-Pflege in Berching ...........................................................11 -
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660185-86bk Gluck US 11/01/2005 03:04pm Page 28 ORPHÉE ORPHEUS Ah, justes dieux! Ah, just gods! Quelle est notre reconnaissance! How grateful we are! GLUCK L’AMOUR LOVE Ne doutez plus de ma puissance. No longer doubt my power. Orphée et Euridice Je viens vous retirer de cet affreux séjour. I have come to take you from this dreary abode. Jouissez désormais des faveurs de l’amour. Enjoy henceforth the favour of love. (1774 Paris Version) SCÈNE III SCENE III Fouchécourt • Dubosc • Le Blanc Temple magnifique dédié à l’Amour. Orphée, Magnificent temple dedicated to Love. Orpheus, Euridice et l’Amour, précédés de bergers et de Euridice and Love, preceded by shepherds and Opera Lafayette Orchestra and Chorus nymphes qui viennent fêter le retour d’Euridice. nymphs coming to celebrate Euridice’s return. Ryan Brown ORPHÉE ORPHEUS L’Amour triomphe, Love is triumphant, Et tout ce qui respire and all living things Sert l’empire de la beauté. are servants of beauty. Sa chaîne agréable Its pleasant bonds Est préférable à la liberté. are preferable to liberty. LE CHOEUR CHORUS L’Amour triomphe, etc. Love is triumphant, etc. L’AMOUR LOVE Dans les peines, dans les alarmes In pain and in worry Je fais souvent languir les coeurs. I often cause hearts to languish. Mais, dans un instant, mes charmes But, in an instant, my magic Font pour jamais oublier mes rigueurs. causes my severity to be forgotten forever. LE CHOEUR CHORUS L’Amour triomphe, etc. Love is triumphant, etc. EURIDICE EURIDICE Si la cruelle jalousie If cruel jealousy A troublé mes tendres désirs, troubled my tender desires, Les douceurs dont elle est suivie the joys which followed it Sont des chaînes de plaisirs. -
Wie Draagt De Kroon? Kanttekeningen Bij La Corona
Wie draagt de kroon? kanttekeningen bij La Corona Volgens de mythologische overlevering was Atalante een gevaarlijke amazone die niet alleen everzwijnen verwondde, maar ook aanbidders het hoofd afhakte en in heiligdommen de liefde bedreef. Niets van dit laatste vinden we terug in La Corona, een Weense kameropera van Pietro Metastasio en Christoph Willibald Gluck. De éénakter fungeerde als cadeau voor een naamdag van de Oostenrijkse keizer Frans Stefan (4 oktober 1765) en zou door vier van zijn dochters uitgevoerd worden. Het feest ging jammergenoeg niet door. Op 18 augustus overleed de keizer, waarna dit sprankelende stukje muziektheater naar de archiefkasten verwezen werd. "L'histoire se répète," moet librettist Metastasio gedacht hebben, want vijfentwintig jaar daarvoor werd de opvoering van zijn Attilio Regolo in precies dezelfde omstandigheden geannuleerd. Historische feiten als deze brengen ons in contact met de wereld van de hofopera, een artistiek klimaat dat in het teken stond van de macht. Per festeggiare il giorno di nome… Vanaf het bewind van Leopold I (1658-1705) werd het gebruikelijk dat Italiaanse opera's keizerlijke gala's omkaderden. Tijdens de huwelijken, verjaardagen, naamdagen en blijde intredes deden deze producties dienst als uithangsborden van de macht en rijkdom der Habsburgers. Daarnaast hadden ze tot doel de niet altijd eendrachtige erflanden (Hongarije, Bohemen, België, Toscane, Lombardije…) strikt binnen de gelederen van het Rijk te houden. In de theaters werd de high society daarom letterlijk 'op haar plaats gezet', of volgens de regels van het protocol in het parterre of de loges geordend. Respect voor de dynastie werd afgedwongen via de drama's die op de planken kwamen. -
The Roles of “Mothers” N Opera As Exemplified by Fides (Meyerbeer’S, Le Prophete); Kostelnika (Janaek’S, Jenufa); Mrs
THE ROLES OF “MOTHERS” N OPERA AS EXEMPLIFIED BY FIDES (MEYERBEER’S, LE PROPHETE); KOSTELNIKA (JANAEK’S, JENUFA); MRS. PATRICK DE ROCHER (HEGGIE’S, DEAD MAN WALKING) by CAROLINE HILDA HARDER B. Mus., Western Washington University, 1989 M. Mus., Western Washington University, 1991 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (Voice Performance) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2009 © Caroline Hilda Harder, 2009 ABSTRACT Mothers in operatic piots are mostly absent; when present, they are generally sung by a mezzo-soprano and are considered “supporting” roles. This dissertation attempts to eluci date what led to the scarcity of mothers as important characters in opera, and to the apparent stereotyping of the role with the mezzo-soprano voice type. Chapter 1 introduces the topic, while chapter 2 explores the aesthetics of the singing voice throughout various periods during which the “preferred vocal ideal” changed, as vocal ranges were equated with the personifi cation and stereotyping of certain character types. Influences which affected the evolution of plot paradigms are also investigated. A summary of opera libretti from the seventeenth to the twentieth century supports historical evidence drawn from the above context and identifies the mother characters in these operas (see Appendix A). Chapters 3, 4, and 5 offer three case studies of the treatment of operatic “mothers” who are central to the plot of the operas in which they, respectively, appear: Fids from Giacomo Meyerbeer’s Le Prophète, Kostelniëka from Janáek’s Jenufa, and Mrs. -
Musiktheater Im Höfischen Raum Des Frühneuzeitlichen Europa
DIE GESPIEGELTE INSZENIERUNG? REPRÄSENTATION UND HIERARCHIE IM THEATERPARTERRE AM WIENER KAISERHOF IN MARIATHERESIANISCHER ZEIT Elisabeth Hilscher, Anna Mader-Kratky Kaum eine andere Gattung ist so mit dynastischer Repräsentation verbunden wie die Oper: Am Wiener Kaiserhof begann sie bald nach ihrer Einführung 1622 die großen Feste zu dominieren1 und wurde – wohl auch aufgrund der in ihr vereinten Hofkünste (Literatur, Architektur / Malerei und Musik) – in den folgenden Jahrzehnten zu einer Leitgattung habsburgischer Repräsentation. Erst im Zuge des Paradigmenwechsels im Laufe des langen 18. Jahrhunderts verloren die musikdramatischen Gattungen gegen Ende der 1740er Jahre und allen voran die große höfische Oper ihre Bedeutung für die dynastische Repräsentation und wurden zunehmend von der »Staatsangelegenheit« zum diletto. Doch gerade am Wiener Hof verlief dieser Prozess langsam und allmählich2 und noch zum Ende des 18. Jahrhunderts wurde immer wieder auf alte zeremonielle Vorgaben zurückgegriffen und damit auch auf Aufführungstraditionen der barocken höfischen Oper.3 1 Vorgeschichte Egal ob in vorübergehend zu Theaterräumen umgebauten Sälen oder in eigens errich- teten Theater- bzw. Opernhäusern fand die zeremonielle Rangordnung des Hofes auch in der Platzvergabe an die Zuschauer der Produktionen seit dem 17. Jahrhundert ihren Ausdruck. Zutritt, Platzierung (Parterre oder Ränge) und die Beschaffenheit des Plat- zes zeigten nicht nur der Person, sondern dem gesamten Hofstaat und den geladenen Gästen, welchen Rang innerhalb des Hofgefüges jeder einnahm, wer ›in der Gunst‹ und wer – nicht nur im Theaterraum, sondern auch in der Hofgesellschaft – am Rande stand. Grundsätzlich unterschied das Zeremoniell zwischen zwei Arten von Festen, zwischen den »großen öffentlichen Aufführungen, zu denen der gesamte Hofstaat, der hohe und der niedere Adel, die Geistlichkeit, die Botschafter und Gesandten sowie 1 Seifert 1985, S. -
Gluck (Part II)
Gluck (Part II) In the first installment of his two-part biography of Gluck (Berlioz on Music, #9), Berlioz related his overwhelming early experiences of Gluck’s music and summa- rized Gluck’s beginnings as a composer of Italian operas, most of little merit— with the notable exception of an aria from Telemaco (1765), which he lovingly and evocatively described. He then told of Gluck’s coming to maturity with his great operatic reform; of the rivalry between Gluck and Piccini; and of Gluck’s force of character in defending his music in performance. Continuing the biog- raphy, Berlioz now reviews Gluck’s French operas beginning with Iphigénie en Aulide (1774). He briefly evokes the popular Orphée (1774), then dwells on the French version of Alceste (1776) and on some unfortunate changes from the Italian libretto. With Armide (1777) he is especially interested in the line “Our general calls you back,” whose extraordinary effect is due in part, he concedes, to additions by French arrangers. He also speaks of Gluck’s masterpiece, Iphigénie en Tauride (analyzed separately in an extensive article: see website and #17); of Écho et Narcisse, his last opera; and finally, of the breadth of Gluck’s genius, capable of improvising French verse. In sum, Berlioz considers Gluck a great musical poet who, through an infusion of poetry into music, began the art’s emancipation from custom and routine. z June 8, 1834 Gazette musicale de Paris 02_9780199391950_c02.indd 1 21-01-2015 16:41:42 2 Berlioz on Music It was at about this time that du Roullet, the bailiff stationed in Vienna,1 brought the French poem Iphigenia in Aulis to Gluck’s attention.2 The idea of setting the final part to music had been suggested by Racine himself, and apart from a few lines of recitative that could well have been preserved just as they had been imagined by our great poet (and that were disfigured merely so du Roullet might play his part as arranger), we may say that the scenes were beautifully organized and ripe for great musical developments. -
Orfeus Og Eurydike Orphée Et Euridice
ORFEUS OG EURYDIKE ORPHÉE ET EURIDICE Christoph Willibald Gluck 1714-87 Orfeus: Juan Diego Flórez Libretto af Pierre-Louis Moline, Eurydike: Christiane Karg efter spillet Orphée et Euricide af Ranieri de 'Calzabigi. L’Amour/kærlighedens gud: Fatma Said Opera i 3 handlinger – Den franske version. Kor og orkester La Scala Uropført Wien 1762, italiensk version. Paris 1774, fransk version. Det Kongelige Teater 1896, omarbejdet 1978. Dirigent: Michele Mariotti Optaget marts 2018 Teatro alla Scala. Instruktører: Hofesh Shechter & John Fulljames Ca. 129 min. inkl. pause. Produceret af Royal Opera House, Covent Garden. Verdenstenoren Juan Diego Flórez blændede publikum og kritikere, da han sang og spillede Orfeus’ rolle virtuost på La Scalas første opsætning af Glucks opera i sin franske version: Juan Diego Flórez leverede en lektion i stil. Hans tone er mørkere og hans fremvisning mere selvudslettende end tidligere, men klassen er permanent. Hans fleksibilitet og legato er spændende. Ovationerne var uendelige. Orfeus, i græsk mytologi en sanger og profet fra Thrakien, søn af Apollon og musen Kalliope. Myterne om Orfeus, der kendes fra slutningen af 500-tallet f.Kr., drejer sig især om tre begivenheder: hans deltagelse i argonautertogtet (Jason og det gyldne skind), hans kærlighed til sin kone Eurydike og dennes død. Efter sin hjemkomst fra togtet blev Orfeus gift med Eurydike, og da hun døde af et slangebid, sang Orfeus i sin sorg, så selv Hades blev rørt og lod ham stige ned i underverdenen for at hente Eurydike op til livet igen. Hades stillede dog den betingelse, at Orfeus ikke måtte vende sig efter hende, førend de var helt oppe i lyset. -
The Great Composers. No. XV. Gluck (Continued) Author(S): Christoph Willibald Gluck and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol
The Great Composers. No. XV. Gluck (Continued) Author(s): Christoph Willibald Gluck and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 25, No. 498 (Aug. 1, 1884), pp. 448-451 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3357496 Accessed: 14-01-2016 13:02 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 131.170.6.51 on Thu, 14 Jan 2016 13:02:35 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-AUGUST 448 I, 1884. meanwhileto "talk about the weather," like the The thirdAct openswith a grand scena forAlmna. youngladies in "The Piratesof Penzance." Alma's Trollbrings the real Ludmillato her,and thewaiting- father,who rejoicesin the peculiarname of Demoslav,maid, with the shrewdnessof her kind,plots a way thenenters, and insteadof rebukingthe young people of escape forherself and mistress. The Berggcistis fortheir breach of propriety, joins themin a Trio, for keptout of harm'sway by beingrequested to raise a the most part unaccompanied.